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Throughout the Islamic world, people from all walks of life bought,
commissioned, and collected works of art. Artistic patronage by the
non-ruling classes of society—such as merchants, nomads, scholars,
and members of the wealthy urban elite—reflect the importance of art in
daily life and the universal appeal of beautiful objects. The chapters in
this unit explore the art of three disparate societies: medieval Nishapur,
a mercantile city along the Silk Road; the nomadic Turkmen people
of Central Asia; and the urban elite of eighteenth-century Damascus,
a provincial center of the Ottoman empire.
Unit 6
From the City to the Steppe: Art Beyond the Royal Courts
Un
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Detail, image 35
Un
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unit 6: ChApteR 1. dAily liFe in medievAl niShApuR
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After reading this chapter, you will be able to:
♦ identify how artifacts excavated in the medieval city of Nishapur
(in present-day Iran) provide insight into the customs, activities, and
environment of its residents.
Introduction
Nishapur, a city in northeastern Iran, was a prosperous commercial city from
the ninth to the thirteenth centuries due to its prime location on the Silk
Road. The Metropolitan Museum of Art’s excavations at this site in the 1930s
and ’40s uncovered objects that reflect Nishapur’s exposure to the cultures
and artistic traditions of many different regions as a result of its key location.
Observations and interpretations of these objects by archaeologists,
historians, scientists, and art historians provide insight into the daily lives
of Nishapur’s citizens.
unit 6: Chapter 1
Daily Life in Medieval Nishapur
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Fig. 36. View of The Metropolitan Museum of Art excavations at Sabz Pushan, Nishapur
Fig. 37. Dado wall fragments in situ, Tepe Madrasa, Nishapur
Fig. 38. Unearthed vessel at Tepe Madrasa, Nishapur
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169unit 6: chapter 1. daily life in medieval nishapur
the city of nishapur
Nishapur was founded around the third century a.d. By the eighth century,
it flourished as a regional capital famous for its commercial and religious
life. The city consisted of a walled citadel surrounded by a walled outer city
that included a palace, mosque, marketplace, and other public buildings.
Between the ninth and thirteenth centuries, Nishapur had a population of
100,000 to 200,000 people and covered an area of about six and a half
square miles.
Nishapur was an important economic center due to its location on
a trade route, known as the Silk Road, which extended from China to the
Mediterranean Sea. Nishapur produced and traded raw cotton, silk and
cotton textiles, turquoise, and earth with healing properties. These were
traded throughout the region, bringing the city great prosperity. Invasions
and earthquakes in the thirteenth century reduced the once bustling metropolis
to ruin. The ruins of Nishapur remained underground until a team of
excavators from the Metropolitan Museum arrived in the 1930s (fig. 36).
the metropolitan museum’s archaeological excavations
The Museum’s team worked at Nishapur between 1935 and 1940 and
returned for a final season in the winter of 1947–48. The most significant
finds came from two areas, Sabz Pushan and Tepe Madrasa. In the residential
neighborhood of Sabz Pushan, the houses were connected to each other by
narrow alleys and had three to four rooms each. Excavated materials from
the houses included stucco wall panels, ceramic and metal household goods,
cosmetic containers, glass vessels, beads and other items of personal
adornment, gaming pieces, and coins (figs. 37, 38). Although archaeologists
excavated only a small fraction of the city, their work gives us a sense of its
architecture. The everyday objects found in Nishapur provide a glimpse into
the daily lives of its inhabitants during the tenth through twelfth centuries.
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Key Words and Ideas
Nishapur, medieval, daily life, bowl, exchange, splashware, floral and vegetal ornament, earthenware
unit 6: chapter 1. daily life in medieval nishapur
Context
The bowl’s green-and-brown splashed-glaze decoration
imitates a type of Chinese ceramic known as sancai ware
(fig. 39). A few shards of Chinese ceramics with green
and brown glazes were unearthed during the Museum’s
excavations at Nishapur, demonstrating the presence of
Chinese imports in that city.
Splashwares emulating Chinese pottery were first
produced in Abbasid Iraq and were the result of extensive
trade in ceramics between China and Iraq. It is likely
that the Abbasid ceramics made their way to Nishapur
and were another important source of inspiration for
the Nishapur splashwares. The incised decorations
on the Nishapur splashware, however, were a local
innovation not seen in either the Chinese originals or
the Abbasid examples.
33Bowl with green, yellow, and brown splashed decoration
10th century
Iran, probably Nishapur
Earthenware; white slip incised and splashed with polychrome
glazes under a transparent glaze (sgraffito ware);
H. 2⅞ in. (7.3 cm); Diam. 10¼ in. (26 cm)
Rogers Fund, 1938 (38.40.137)
LInK to the theme of thIs Chapter
This bowl was excavated in Nishapur. The abundance of
bowls with this type of decoration found there attests to
their popularity. They were likely produced in Nishapur in
large numbers.
funCtIon
Bowls such as this would have been used in Nishapur
homes in the tenth century. The craftsmanship and
aesthetic appeal of the bowl would likely have made it
a prized possession.
desCrIptIon/VIsuaL anaLysIs
This earthenware bowl has two separate layers of
decoration. The top layer consists of translucent splash-
color glazes in green, yellow, and purple brown. The layer
below was created using so-called sgraffito, lines scratched
into the clay through the thin coat of white slip covering
the reddish tan earthenware body. Incised on the rim of
the bowl is an alternating series of stylized flowers and
other vegetal forms. A lattice pattern decorates the center.
Fig. 39. Ewer, Tang dynasty (618–906), late 7th century; China; earthenware with three-color (sancai ) glaze; H. 11⅛ in. (28.3 cm); Gift of Stanley Herzman, in memory of Gladys Herzman, 1997 (1997.1.2)
The decoration and color palette of this Chinese ewer bear a strong resemblance to the bowl from Nishapur. It was made during the Tang dynasty, predating the period in which Nishapur was an active production center of ceramics. The two regions were actively engaged in trade, and Chinese splashwares were likely imported into Iran. Chinese ceramic shards found at Nishapur during the Metropolitan Museum’s excavations provide evidence of this influence.
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33. Bowl with green, yellow, and brown splashed decoration
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Key Words and Ideas
Nishapur, medieval, daily life, bowl, exchange, calligraphy (“new style” script), earthenware
unit 6: chapter 1. daily life in medieval nishapur
descrIptIon/VIsual analysIs
The calligraphic text, outlined in white, runs along the
interior rim. The words have been carefully arranged and
spaced so that the vertical letters at the beginning of each
word punctuate the horizontal flow of the text at rhythmic
intervals. Between the words are alternating red and
black strokes; at the center of the bowl is a large motif of
interlacing vegetal designs on a stippled ground.
context
Although this bowl was found in Nishapur, the style of
the piece—with its interlaced design in the center and
red and black lines above the words—suggests that it may
have been made in Samarqand (a city on the Silk Road),
where many vessels with this type of decoration and color
palette have been unearthed. This work is a fine example
of the calligraphic decoration popular in Iran in the ninth
and tenth centuries. It was found near the center of
Nishapur, where experts believe the governor’s palace was
located. The buildings uncovered in this area were larger
in scale and had thicker walls and more prominent
facades than structures found in other neighborhoods.
Like the building in which it was found, this bowl is larger
and of better quality than many ceramics unearthed in
other areas of the city.
Late 10th–11th century
Iran, excavated at Nishapur; probably made in Samarqand
(in present-day Uzbekistan)
Earthenware; white slip with polychrome slip decoration under
transparent glaze; Diam. 14 in. (35.6 cm), H. 4¼ in. (10.8 cm)
Rogers Fund, 1940 (40.170.15)
lInK to the theme of thIs chapter
The inscription on this bowl reads: “Blessing, prosperity,
goodwill, peace, and happiness.” The bowl belongs to a
category of pottery that uses inscriptions as the primary
decoration. The inscriptions often include blessings or
good wishes for the owner, or simple proverbs. Some
directly relate to the function of the bowls (such as “eat
with appetite”; see image 7). Inscriptions such as these
reflect the values and culture of hospitality of the
inhabitants of medieval Nishapur.
functIon
The bowl was probably used for serving food, which
would have been “blessed” by the good wishes written on
the interior.
34Bowl with arabic inscription
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34. Bowl with Arabic inscription
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Key Words and Ideas
Nishapur, medieval, daily life, wall painting, vegetal ornament, stucco
unit 6: chapter 1. daily life in medieval nishapur
of roundels and swirling leaves and palmettes. A different
abstract vegetal design appears within each petal.
Although the decoration in every panel varies, each derives
from the same basic forms.
Context
The houses and other buildings in Nishapur were
decorated with a variety of materials, including carved
stucco and wall paintings. While some decoration
emphasized abstract motifs, others—such as wall
paintings—included figures. Excavations suggest that
decoration changed frequently. In a bathhouse, for
example, archaeologists discovered fifteen separate layers
of painted designs.
The artist or craftsman who made this panel applied
a thin layer of stucco (a form of plaster) to the wall,
sketched its design on the surface, and then carved it by
hand. Originally, panels such as this were painted in bright
yellows, reds, and blues to accompany equally colorful
murals on the plaster walls above. Once the excavated
panels were exposed to air, the colors began to fade.
10th century
Iran, Nishapur
Stucco; carved; 37½ x 92⅝ x 3½ in. (95.3 x 235 x 8.9 cm)
Rogers Fund, 1937 (37.40.40)
LInK to the theme of thIs Chapter
This carved plaster panel, from one of the houses
excavated at Nishapur, provides a sense of how urban
residences were decorated in tenth-century Iran.
funCtIon
This is one of several particularly well-preserved panels
that adorned the lower part of the wall (dado) in a
residential building in Nishapur. In the installation at
the Museum, the panels from three separate rooms have
been reconfigured in a single space approximately the
same shape and dimensions as one of the rooms in
the house from which they came (fig. 40).
desCrIptIon/VIsuaL anaLysIs
The primary decorative element of this panel is a six-
petalled flower, repeated three times against a background
35Dado panel
Fig. 40. Dado panels installed in the Metropolitan Museum’s galleries, replicating their position in the rooms they originally decorated.
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35. Dado panel
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Key Words and Ideas
Nishapur, medieval, daily life, jewelry, talisman, zodiac, bronze
unit 6: chapter 1. daily life in medieval nishapur
Context
The pseudo-writing on the pendant is an important
feature. Though illegible, the series of vertical strokes
resembles the Arabic phrase known as the shahada, which
states, “There is no god but God.” This phrase has its
own talismanic power, as belief in this concept is one of
the basic tenets of Islam.
The inclusion of esoteric symbols and images
indicates an early date for this pendant; later Islamic
talismans usually feature signs with more obviously
Islamic connotations, such as quotations from the Qur’an
or letters representing the names of God.
10th century
Iran, Nishapur
Bronze, cast; Diam. 15⁄16 in. (2.4 cm), D. 3⁄16 in. (0.5 cm)
Rogers Fund, 1940 (40.170.245)
LInK to the theme of thIs Chapter
This circular metal pendant is a personal accessory
discovered during excavations of Nishapur; like other
items from the site, it offers a glimpse into the daily lives
of the city’s inhabitants.
funCtIon
Objects like this one were decorated with symbols
believed to have magical powers. Because the meaning
of these symbols has been lost over time, we can only
speculate about their function. We know that during the
twelfth and thirteenth centuries it was believed that
objects depicting zodiac signs like this pendant provided
their owners with protection. This pendant, originally
suspended from a chain, was likely worn as a talisman.
desCrIptIon/VIsuaL anaLysIs
The center of the circular pendant features an image of
a lion and a scorpion with three starlike motifs; these
figures are surrounded by a square frame that is enhanced
by perpendicular lines reminiscent of writing. The figures
may represent the zodiac symbols of Leo and Scorpio,
which frequently appear on objects from this period.
36pendant
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36. Pendant
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Key Words and Ideas
Nishapur, daily life, games, figural, stonepaste
unit 6: chapter 1. daily life in medieval nishapur
This chess set is made of stonepaste, an eleventh-
century innovation adopted by Iranian potters in the
following century. That, paired with the use of turquoise
glaze, dates this set to the twelfth century.
other Chess PIeCes from the IslamIC World
In the museum’s ColleCtIon
Both abstract and naturalistic pieces were popular in
chess sets from the Islamic world. In the Museum’s
collection, you can find examples of both types. For more
naturalistic versions of a rukh piece and an elephant piece,
see 1974.207 and 17.190.228, respectively. Other examples
of abstract pieces are 1972.9.3 and 67.151.2
12th century
Iran, Nishapur
Stonepaste, molded and glazed; largest piece (king) H. 2 in.
(5.5 cm), Diam. 2⅛ in. (4.4 cm); smallest piece (pawn)
H. 1⅜ in. (3.3 cm), Diam. 1⅛ in. (2.9 cm)
Pfeiffer Fund, 1971 (1971.193a–ff)
lInK to the theme of thIs ChaPter/funCtIon
Chess was one of the most popular pastimes in the
medieval Islamic world, enjoyed by people from many
different echelons of society. Although the chess set was
not uncovered during the Museum’s excavations, a pawn
similar in color and shape to those in this set was
excavated at Nishapur.
desCrIPtIon/VIsual analysIs
This is one of the oldest extant chess sets and is one
pawn short of being complete—it has sixteen turquoise
pieces and fifteen dark purple pieces. Each figure is highly
abstracted, and corresponds roughly to a piece in the
modern chess set. The shah (king) and vizier (corresponding
to the queen) take the form of thrones; the vizier is slightly
smaller. To their sides are elephants (bishops in modern
sets), comprised of circular bases and flat tops with tusklike
protrusions. Nearby are horses (knights), reduced to
triangular knobs, and rukhs (meaning chariots; rooks in
modern sets), featuring inverted wedges atop rectangular
bases. The pawns, the smallest pieces in the set, are each
made up of a faceted dome crowned by a small knob.
Context
Chess, which originated in India, reached Greater Iran by
the seventh century. The Shahnama (Book of Kings), the
Persian national epic, recounts that chess entered Persia
through a royal challenge: an Indian ruler sent a chess set
to the Persian court with the message that he would pay
tribute to the Persian king only if the king figured out the
goal of the game (fig. 41). The Shahnama also relates a
story in which chess was invented as a way to explain to a
grieving queen how her son was killed in battle. (See also
“The Making of a Persian Royal Manuscript,” page 139.)
37chess set
Fig. 41. Buzurgmihr Masters the Game of Chess: Folio from the Shahnama (Book of Kings) of Shah Tahmasp (detail), about 1530–35; artist: attributed to ‘Abd al-Vahhab; Iran, Tabriz; opaque watercolor, ink, silver, and gold on paper; entire page: 18⅝ x 12½ in. (47.3 x 31.8 cm); Gift of Arthur A. Houghton Jr., 1970 (1970.301.71)
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37. Chess set
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Lesson Plan: Unit 6, Chapter 1 Daily Life in Medieval Nishapur
UNit 6: ChaPter 1. DaiLy Life iN MeDievaL NishaPUr
object such as a heavy paper cup, bowl, or plate for each student, as well as paint, a container for water, and brushes of varying size or colored pencils and markers.
Questions for Viewing♦♦ Look closely at the glaze that colors the surface.
How might you describe this style of glazing to someone who had never seen it? How might an artist achieve this effect?
♦♦ Turn your attention to the lines incised in the bowl; observe the rim and work your way to the center. What do you notice? What might have inspired these forms?
♦♦ What are some ways the artist has used the incised decoration to complement or emphasize the form of the bowl?
ActiVity subject AreAs: Visual Arts and World History DurAtion: Approximately 40 minutes
Compare and contrast this featured work of art with the ewer (fig. 39; see objects in the museum’s collection). Note similarities and differences in the coloring, decoration, and use of materials. While the featured work likely comes from Nishapur, where excavations have uncovered many bowls of this kind, the ewer comes from China. What might your observations suggest about ties between Nishapur (Iran) and China?
Print images of all the related objects included in the lesson. Note when and where each object was created and organize the images in chronological order. What stands out as you look at them in sequence? Consider the various locations in which they were produced (and found). How does this information challenge, support, or expand your initial inferences about connections between Nishapur and other regions? Why?
What are some ways regions may have shared or exchanged goods or ideas during this time period? (See map of the Silk Road, page 23) Read the description for image 33 (and, if possible, use the links throughout this text to the Museum’s website) to learn more about each object and ways in which goods and ideas circulated among Nishapur (Iran), Iraq, and China. Consider how, if at all, innovations in technology had an impact on the
feAtureD work of ArtBowl with green, yellow, and brown splashed
decoration (image 33)10th centuryIran, NishapurEarthenware; white slip incised and splashed with
polychrome glazes under transparent glaze, (sgraffito ware); H. 2⅞ in. (7.3 cm); Diam. 10¼ in. (26 cm) Rogers Fund, 1938 (38.40.137)
subject AreAs: Visual Arts and World History grADe: Middle School and High School topic/theme: Art as a Primary Resource
goAls Students will be able to:♦♦ recognize ways works of art reflect medieval
Nishapur’s status as an important center of trade; ♦♦ use visual evidence to support inferences; and♦♦ apply an original two-dimensional design to a three-
dimensional form (in alternative activity).
nAtionAl leArning stAnDArDsVisual Arts♦♦ NA-VA.K-12.2 Using Knowledge of Structures and
Functions♦♦ NA-VA.K-12.4 Understanding the Visual Arts in
Relation to History and Cultures♦♦ NA-VA.K-12.5 Reflecting Upon and Assessing the
Characteristics and Merits of Their Work and the Work of Others
♦♦ NA-VA.K-12.6 Making Connections Between Visual Arts and Other Disciplines
World History♦♦ NSS-WH.5-12.4 Era 4: Expanding Zones of Exchange
and Encounter, 300–1000 c.e.
common core stAte stAnDArDsLiteracy in History/Social Studies, Science, and Technical Subjects♦♦ R.CCR.7 Integrate and evaluate content presented
in diverse formats and media, including visually and quantitatively, as well as in words
ActiVity setting: Classroom mAteriAls: Pencil, paper, map of the Silk Road (see page 23), and images of the featured work of art and three related objects. For the alternative activity, you will also need one recycled (or inexpensive) household
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181unit 6: chapter 1. daily life in medieval nishapur
ResouRces
American Museum of Natural History. Traveling the Silk Road: Ancient Pathway to the Modern World. Online educator’s guide. New York: American Museum of Natural History, 2009. http://www.amnh.org/exhibitions/past-exhibitions/traveling-the-silk-road/promos/traveling-the-silk-road-educators-guide.
Sardar, Marika. “The Metropolitan Museum’s Excavations at Nishapur.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/nish/hd_nish.htm (originally published October 2001, last revised July 2011).
objects in the MuseuM’s collection Related to this lesson
Fig. 39. Ewer, Tang dynasty (618–906), late 7th century; China; earthenware with three-color (sancai ) glaze; H. 11⅛ in. (28.3 cm); Gift of Stanley Herzman, in memory of Gladys Herzman, 1997 (1997.1.2)
Fragment of an imported Chinese bowl, late 7th–first half of the 8th century; China; found in Nishapur, Iran; earthenware; applied relief medallion under three-color (sancai ) glaze; Rogers Fund, 1938 (38.40.274)
Bowl with green splashes, 9th century; Iraq, probably Basra; earthenware; “splash-painted” on opaque white glaze; H. 5⁄16 in. (.8 cm), Diam. 11⅛ in. (28.3 cm); Gift of V. Everit Macy, 1930 (30.112.46)
Author: Claire Moore, The Metropolitan Museum of ArtDate: 2012
ways in which communities around the world share goods and ideas today.
Key Points: Splashware originated in China. Splashwares emulating Chinese pottery were first produced in Iraq during the Abbasid reign (750–1258). Both Chinese and Iraqi splashwares likely influenced artists in Iran.
alteRnative activity subject aRea: Visual Arts duRation: Approximately 90 minutes
Closely observe the relationship between the shape of this bowl and the surface design. Note how the netlike pattern in a circular frame accentuates the flat base, the slightly rounded walls create an illusion of volume, and the curvaceous floral motifs that decorate the interior wrap around the form.
Try creating a surface design for a three-dimensional object that complements or emphasizes its form:
1. Select a recycled or inexpensive household object to decorate (for example, a paper bowl, coffee can, milk jug).
2. If the surface is already decorated, paint it white (or another neutral color) to create a solid ground.
3. Note the various planes of the object (i.e., the base, lip, rim, walls) and sketch several possible designs for each. As you consider the options, reflect on ways each selection will reinforce or complement the shape of the object.
4. Transfer the designs you selected onto the object using a pencil.
5. Share your work and preparatory sketches with a peer. Discuss aspects of the design you feel are most and least successful (and why).
6. Observe the works produced by the rest of your class. Identify one or more strategies that might strengthen an aspect of your design. Revise your work as needed; a quick coat of paint over areas you would like to revisit will create a fresh ground if you have trouble removing your pencil markings.
7. Once you have finalized the design, add color (using colored pencils, markers, or paint) as desired.
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182 unit 6: chapter 1. daily life in medieval nishapur
Sardar, Marika. “The Metropolitan Museum’s Excavations at Nishapur.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/nish/hd_nish.htm (originally published October 2001, last revised July 2011). HigH scHool
The Silk Road Project, Inc. Website. Boston: The Silk Road Project, Inc., 2012. http://www.silkroadproject.org/tabid/177/default.aspx. HigH scHool
American Museum of Natural History. Traveling the Silk Road: Ancient Pathway to the Modern World. Online educator’s guide. New York: American Museum of Natural History, 2009. http://www.amnh.org/exhibitions/past-exhibitions/traveling-the-silk-road/promos/traveling-the-silk-road-educators-guide.
The Metropolitan Museum of Art. MuseumKids: The Art of Chess at The Metropolitan Museum of Art. Online Museum family guide. New York: The Metropolitan Museum of Art, 2003. http://www.metmuseum.org/learn/for-kids/family-guides/the-art-of-chess-at-the-met. Middle scHool
Panchyk, Richard. Archaeology for Kids: Uncovering the Mysteries of Our Past. Chicago: Chicago Review Press, 2001. eleMentary scHool; Middle scHool; HigH scHool
unit 6: chapter 1 suggested readings and resources
unit 6: chapter 1 SourceS
Ekhtiar, Maryam D., Priscilla P. Soucek, Sheila R. Canby, and Navina Najat Haidar, eds. Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 2011 (cat. no. 70).
Mackenzie, Colin, and Irving Finkel, eds. Asian Games: The Art of Contest. Exhibition catalogue. New York: Asia Society, 2004.
Rawson, Jessica, M. Tite, and M. J. Hughes. “The Export of Tang Sancai Wares: Some Recent Research.” Transactions of the Oriental Ceramic Society 52 (1987–88), pp. 39–61.
Sardar, Marika. “The Metropolitan Museum’s Excavations at Nishapur.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/nish/hd_nish.htm (originally published October 2001, last revised July 2011).
Wilkinson, Charles K. Nishapur: Pottery of the Early Islamic Period. New York: The Metropolitan Museum of Art, 1973.
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183
After reading this chapter, you will be able to:
♦ understand how a reception room from the house of an affluent family
in eighteenth-century Damascus reflects the tastes, interests, and life
of the urban elite in a provincial city of the Ottoman empire; and
♦ identify key features of this domestic interior and their cultural
and artistic significance.
Introduction
The Damascus Room is an early eighteenth-century residential reception
chamber (qa‘a) from Damascus, a provincial capital of the Ottoman empire.
(For more on the art of the Ottoman empire, see “Art and Empire: The
Ottoman Court,” page 123.) The space provides a vivid impression of the
domestic setting of an affluent Damascus household during this period.
Historical sources and travelers’ accounts from the period, as well as the
various features of the room itself—such as the painted and gilded
woodwork, extensive poetic inscriptions, and inlaid marble floors—shed
light on its historical context, its use, and the symbolic significance of many
of its decorative elements.
Unit 6: Chapter 2
Domestic Life in Eighteenth-Century Damascus
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184 Running foot184 unit 6: chapter 2. domestic life in eighteenth-century damascus
eighteenth-century damascus
During the first half of the sixteenth century, successful military campaigns
by the Ottoman empire added new territories to its already vast domain. In
1516, the Ottomans defeated Mamluk forces in Damascus, the provincial
capital of southern Syria (which included parts of present-day Israel,
Palestine, and Jordan; see map of the Ottoman empire, page 125). By the
eighteenth century, Damascus was not only one of the most prosperous
commercial cities in the empire, but a center of Islamic scholarship and
worship. The population included sizeable Christian and Jewish
communities, and the city attracted merchants, scholars, and pilgrims
from all over the world.
Fig. 42. Damascus, 1857, Francis Frith (English, 1822–98); albumen silver print from glass negative; David Hunter McAlpin Fund, 1966 (66.640.1.46)
courtyard houses in damascus
Within the city walls, eighteenth-century Damascus was densely built (fig. 42).
Palatial residences stood alongside more humble dwellings, bathhouses,
mausoleums, schools, and places of worship, all within a grid of bustling
market streets, narrow alleys, and cul-de-sacs. Courtyard houses, like the one
that contained this room, traditionally accommodated an extended family,
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185unit 6: chapter 2. dome stic life in eighteenth-century damascus
often consisting of three or more generations, as well as domestic servants.
Narrow winding entryways to these domestic residences—preceded by plain
exterior doors—obscured views of the interior from pedestrians on the busy
streets outside. The entrance created a dramatic effect as guests traveled
from the simple exterior through a dark and narrow passage, which opened
onto an airy, lushly planted courtyard surrounded by living spaces. Windows
and balconies often lined the interior walls of the home, rather than the
street, enabling its residents to take full advantage of the calm and quiet
courtyard within. Foreign travelers frequently recorded their observations
in accounts that serve as valuable sources of information about these houses
and their surroundings (fig. 43). One nineteenth-century European visitor
aptly described an interior courtyard in the dense city as “a gold kernel in a
husk of clay.”
Fig. 43. Interior view of a reception chamber (qa’a). Plate XLVI in Architecture arabe; ou Monuments du Kaire, mesurés et dessinés, de 1818 à 1825, by Pascal Coste (1787–1879). Engraving; 52.5 x 37 cm. New York Public Library, New York
186 unit 6: chapter 2. domestic life in eighteenth-century damascus
In contrast, the shelves of the raised area displayed
a range of prized possessions, heirlooms, and recent
purchases according to the latest fashions. These
reflected the owner’s individual tastes and interests and
often included ceramics, glass objects, and books.
Inventories and descriptions provide evidence that the
large cupboards stored textiles and cushions.
Description/Visual analysis
Like others of its kind, this room is divided into two areas:
a small entry space on the courtyard level and a raised
square seating area. The wall paneling incorporates
built-in shelves, cupboards, and shuttered window bays.
The owner ordered woodwork with densely patterned
and richly textured designs produced using a decorative
technique characteristic of Ottoman Syria known as ‘ajami.
Craftsmen also included gilded muqarnas, architectural
decorations known throughout the Islamic world (seen
here in the upper sections of the woodwork). Craftsmen
created some design elements in relief by applying a thick
layer of gesso to the wood. They highlighted parts of this
relief by applying tin or gold leaf, which they painted with
tinted glazes to achieve a colorful and radiant glow. By
contrast, they executed some elements of the decoration
in egg tempera paint on the wood, which provided a
matte surface.
In addition to decorative woodwork, calligraphic
panels appear prominently on the cornices and wall
panels. On the ceiling cornice, twelve verses of a poem
complemented by surrounding floral imagery allude to a
garden. On a nearby wall cornice, the next fourteen verses
of the poem shift from images of nature to praise for the
Prophet Muhammad. The final verses of the poem, on the
walls of the room, praise the house and the nobility of its
owner—“He who built you surpasses the planets and
stars in glory.”
Above the wood paneling and cornice, intricate
stained-glass windows and densely carved woodwork on
the ceiling complement white plastered walls.
context
The courtyards of Damascus houses typically contained
a summer reception space (a three-sided hall that was
open to the courtyard) and a winter reception space (an
interior chamber built on the north side of the court).
38the damascus room
Dated a.h. 1119 / a.d. 1707
Syria, Damascus
Wood (poplar) with gesso relief, gold and tin leaf, glazes and
paint; wood (cypress, poplar, and mulberry), mother-of-
pearl, marble and other stones, stucco with glass, plaster
ceramic tiles, iron, brass
Gift of The Hagop Kevorkian Fund, 1970 (1970.170)
link to the theme of this chapter
This reception room sheds light on the interests,
aesthetics, and culture of members of the urban elite
living in Damascus in the early eighteenth century.
function
The reception room served as a place to entertain guests
or gather a family for festive meals. A visit to an eighteenth-
century Syrian reception room engaged all of the senses.
Upon entering the reception room (qa‘a), visitors would
remove their shoes, proceed into the main room, and
ascend the high step under the archway to the seating
area (tazar). Plush carpets covered the marble floor and
guests could recline on the low sofa against cushions
upholstered in patterned silks and velvets. In the
background, one could hear the continuous sound of
the gently splashing fountain and chirping birds. At
mealtime, the reception room doubled as a dining area.
Servants set large trays bearing platters of food on the
floor or on low stands as the diners gathered around
them. For a special occasion, the host might hire
musicians and singers to provide entertainment. It was
customary to sprinkle guests with perfumes; incense
burners were used to diffuse aromatic smoke. These
scents mingled with those of the fragrant blossoms
floating in from the courtyard.
The display of objects was integral to the
architectural design of a well-appointed reception room
in Ottoman Damascus, which invariably included custom-
made shelving, niches, and cupboards. From archival
sources and historical descriptions by European visitors,
we know that the shelves of the antechamber included
functional possessions related to hospitality, such as
wash basins and jugs, incense burners, and rosewater
sprinklers (long-necked bottles with tiny openings to
dispense drops of rose-scented water); coffee services
(including a coffeepot, cups with holders, and a tray);
sherbet services; water pipes; braziers; and candleholders.
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38. The Damascus Room
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188
Key Words and Ideas
Ottoman empire, eighteenth-century Damascus, urban elite, daily life, furnishings, Islam, trade and exchange,
calligraphy (thuluth script), architecture, wood, marble, stucco, ceramic, iron, brass, glass
unit 6: chapter 2. domestic life in eighteenth-century damascus
vignettes that appear alongside more traditional Ottoman-
style motifs, such as serrated leaf designs (saz), vegetal
arabesques, geometric patterns, and calligraphy.
The calligraphic ornament, which plays an important
role in Islamic architecture in general, also communicated
the owner’s literary taste, religious piety, and social
affiliation in the context of eighteenth-century Damascus.
Although the owner is unnamed, one verse states that the
family “traces its root[s] to the most noble of men,” a
reference to the Prophet Muhammad. This indicates that
the owner was probably a member of the local aristocracy,
many of whom claimed descent from the Prophet.
The location of the winter reception room was strategic;
it provided optimal exposure to the sun, which helped
heat the room. The Museum’s room functioned as a
winter reception space.
The decorative designs on the painted woodwork
of the room closely reflect the fashions popular in
eighteenth-century Istanbul (in modern-day Turkey), the
capital of the Ottoman empire. For example, craftsmen
incorporated European-inspired elements into the
painted woodwork reflecting Ottoman interconnections
with Europe. These include motifs featuring flower-filled
vases, overflowing fruit bowls, and small landscape
38the damascus room (continued)
Detail, image 38
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38. The Damascus Room
Detail, image 38
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190
Lesson Plan: Unit 6, Chapter 2 Domestic Life in Eighteenth-Century Damascus
Unit 6: ChaPtEr 2. DomEstiC LifE in EightEEnth-CEntUry DamasCUs
♦♦ R.CCR.7 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words
♦♦ W.CCR.7 Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation
Activity Setting: Classroom or Museum MAteriAlS: Computer with Internet access ideal, but not required. For the alternative activity, you will also need paper, pencils, markers, poster board, magazines, glue, and fabric swatches.
QueStionS for viewing♦♦ What are some ways your family entertains guests
when they visit your home? What types of activities might take place in a room like this? How is this room, reflective of life in eighteenth-century Damascus, similar to or different from the place you use to entertain guests?
♦♦ As a prosperous commercial center and hub of Islamic scholarship and worship, Damascus attracted merchants, scholars, and pilgrims from all over the world. What objects or details in this room reflect these international influences? What do you see that makes you say that?
♦♦ Large, luxurious residences containing rooms like this stood alongside more humble dwellings, bathhouses, mausoleums, schools, and places of worship on a grid of bustling streets in Ottoman Damascus. Watch the video simulating the path used to enter such a home (see reSourceS). What advantages might this design offer? Why might someone create such a plain exterior for such an elegant home?
♦♦ Rooms often convey information about the tastes, interests, and values of their inhabitants. What might you infer about the owner of a room such as this?
Activity Subject AreAS: Visual Arts and World History DurAtion: Approximately 30 minutes
Imagine someone you never met took a tour of your home. What might they infer about your tastes, interests, hobbies, personality, etc.? Why?
feAtureD work of Artthe Damascus room (image 38)Dated a.h. 1119/a.d. 1707Syria, DamascusWood (poplar) with gesso relief, gold and tin leaf, glazes
and paint; wood (cypress, poplar, and mulberry), mother-of-pearl, marble and other stones, stucco with glass, plaster ceramic tiles, iron, brass; H. 22 ft. ½ in. x 16 ft. 8½ in. (671.6 x 509.2 cm), D. from inside front entrance to back wall 26 ft. 4¾ in. (804.2 cm)
Gift of The Hagop Kevorkian Fund, 1970 (1970.170)
Subject AreAS: Visual Arts and World History grADeS: Middle School and High School topic/theMe: Identity
goAlS Students will be able to:♦♦ understand how a reception room from the house
of an affluent family in eighteenth-century Damascus reflects the tastes, interests, and life of the urban elite in a provincial city of the Ottoman empire; and
♦♦ recognize ways interiors from different time periods and places (including their own) reflect the personal tastes, interests, and values of their inhabitants.
nAtionAl leArning StAnDArDSVisual Arts♦♦ NA-VA.K-12.3 Choosing and Evaluating a Range of
Subject Matter, Symbols, and Ideas♦♦ NA-VA.K-12.4 Understanding Visual Arts in Relation
to History and Cultures♦♦ NA-VA.K-12.6 Making Connections Between
Visual Arts and Other DisciplinesWorld History♦♦ NSS-WH.5-12.6 Era 6: The Emergence of the
First Global Age, 1450–1770
coMMon core StAte StAnDArDSLiteracy in History/Social Studies, Science, and Technical Subjects♦♦ R.CCR.1 Read closely to determine what the text
says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text
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191unit 6: chapter 2. dome stic life in eighteenth-century damascus
ResouRces
Daskalakis Mathews, Annie-Christine. “A Room of ‘Splendor and Generosity’ from Ottoman Damascus.” Metropolitan Museum Journal 32 (1997), pp. 111–39.
Kenney, Ellen. “The Damascus Room.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/dama/hd_dama.htm (October 2011). (The video mentioned under “Questions for Viewing” is located about halfway down the page.)
spaces in the MuseuM Related to this lesson
Hôtel de Varengeville Room, French Decorative Arts http://www.metmuseum.org/collections/galleries/european-sculpture-and-decorative-arts/525
Rococo Revival Parlor, The American Wing http://www.metmuseum.org/collections/galleries/the-american-wing/739
Author: Claire Moore, The Metropolitan Museum of ArtDate: 2012
Explore ways the materials, ornamentation, layout, and furnishings employed in rooms from different places and moments in history (see spaces in the MuseuM) reflect the tastes, interests, and values of their times. Compare your inferences with the information provided on the Museum’s website; to learn more about the contents of each room select images of the gallery highlights at the bottom of each web page.
alteRnative activity subject aRea: Visual Arts duRation: Approximately 120 minutes
Design an entertainment room for a classmate that supports his or her tastes and lifestyle.
1. Interview a classmate to learn more about their interests, hobbies, and tastes; you will be designing an entertainment room to meet their needs. Work with your “client” to identify the various functions and activities the space will support and the message they hope to convey to their guests through the design. Make sure that you have a clear picture of their priorities before you end the meeting.
2. Develop three sketches for the floor plan and present them to your client. Discuss how each design would meet their needs. You will need final approval from the client to proceed with one of the designs; this may require making a few revisions on the spot.
3. Once the client approves your plan, consider how you might furnish and decorate the room based on the information you gathered during your initial meeting. Use magazines, newspapers, websites, and other such sources to gather inspiration for the furniture, wall colors, lighting, and other decoration. Create a presentation board for your client including a sketch or collage of the furnished interior, any photos or visuals that inspired your design, and fabric swatches.
4. Present your design to the client. Listen closely to his or her feedback and revise as necessary.
5. Share the final design with your class along with a profile of your client and their needs.
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192 unit 6: chapter 2. domestic life in eighteenth-century damascus
The Metropolitan Museum of Art. Conserving the Damascus Room at The Metropolitan Museum of Art. Video. 3 min. New York: The Metropolitan Museum of Art, 2011. Go to www.youtube.com/user/metmuseum and search for “Conserving the Damascus Room.”
“Reception Room (Qa‘a) [Damascus, Syria] (1970.170).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/1970.170 (October 2011).
HigH scHool
Burns, Ross. Damascus: A History. London: Routledge, 2009. HigH scHool
Daskalakis Mathews, Annie-Christine. “A Room of ‘Splendor and Generosity’ from Ottoman Damascus.” Metropolitan Museum Journal 32 (1997), pp. 111–39. HigH scHool
Keenan, Brigid. Damascus: Hidden Treasures of the Old City. Photographs by Tim Beddow. New York: Thames & Hudson, 2000. HigH scHoolContains many color photographs and is especially useful for
contextualizing images of Damascus courtyards and buildings.
Kenney, Ellen. “The Damascus Room.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/dama/hd_dama.htm (October 2011). HigH scHool
unit 6: chapter 2 suggested readings and resources
Unit 6: chapter 2 SoUrceS
Baumeister, Mechthild, Beth Edelstein, Adriana Rizzo, Arianna Gambirasi, Timothy Hayes, Roos Keppler, and Julia Schultz. “A Splendid Welcome to the ‘House of Praises, Glorious Deeds and Magnanimity.’” In Conservation and the Eastern Mediterranean: Contributions to the 2010 IIC Congress, Istanbul, pp. 126–33. Istanbul: International Institute for Conservation of Historic and Artistic Works, 2010.
Burns, Ross. Damascus: A History. London: Routledge, 2007.Daskalakis Mathews, Annie-Christine. “A Room of ‘Splendor and
Generosity’ from Ottoman Damascus.” Metropolitan Museum Journal 32 (1997), pp. 111–39.
Ekhtiar, Maryam D., Priscilla P. Soucek, Sheila R. Canby, and Navina Najat Haidar, eds. Masterpieces from the Department of Islamic Art in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 2011 (cat. no. 238).
Grehan, James. Everyday Life & Consumer Culture in 18th-Century Damascus. Seattle: University of Washington Press, 2007.
Kenney, Ellen. “The Damascus Room.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. www.metmuseum.org/toah/hd/dama/hd_dama.htm (October 2011).
“Reception Room (Qa‘a) [Damascus, Syria] (1970.170).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/ 1970.170 (October 2011).
Weber, Stefan. Damascus: Ottoman Modernity and Urban Transformation, 1808–1918. Aarhus, Denmark: Aarhus University Press, 2009.
193
After reading this chapter, you will be able to:
♦ identify ways the art of the Turkmen people of Central Asia reflects
nomadic life; and
♦ understand the functional and symbolic role objects played in their lives.
Introduction
The history of Central Asia presents a constant political and cultural interplay
between nomadic and settled peoples. Art museums have rarely displayed the
material culture of nomadic peoples, even though their traditions exerted a
powerful influence on art and culture. There were many tribal groups in
Central Asia, and the Turkmen, Uzbeks, and Kazakhs, among others, all have
rich artistic traditions. The Metropolitan Museum of Art has a particularly
strong collection of Turkmen textiles and jewelry; an exploration of these
everyday artworks can help us understand the lives and traditions of the
Turkmen people.
The art of the Turkmen nomads serves specific practical purposes.
Some works marked important life events, such as the ceremonies
surrounding birth or marriage. Others were destined for use in portable
dwellings or were bartered to townspeople for metal goods, such as dye pots
or weapons. Turkmen artists are known for their skills in weaving carpets—
largely the work of women artists—and making silver jewelry, which was
the work of male artists.
unit 6: Chapter 3
The Nomads of Central Asia: Turkmen Traditions
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194 Running foot194 unit 6: chapter 3. the nomads of central asia: turkmen traditions
Who are the turkmen?
The Turkmen art discussed in this chapter dates from the eighteenth to the
twentieth century, and the way of life described here pertains to the Turkmen
who lived during that period. The Turkmen have a long history in Central
Asia, but little is known about their early history because they did not keep
written records. Although the Central Asian Turkmen still exist and some still
live nomadic lives, most have permanently settled in and around the country
of Turkmenistan. The Turkmen were historically pastoral nomads and
herders of sheep. The people known as Turkmen are in fact made up of more
than two dozen major tribal groups, and were documented as living in
Central Asia as early as the ninth century. With the advent of Islam in Central
Asia, the Turkmen people converted, combining Sunni Islam with elements
of their pre-Islamic faith, known broadly as Shamanism.
For most of their history the Central Asian Turkmen were politically
independent, largely existing outside the control of ruling dynasties. Despite
this, the Turkmen played a significant role in shaping the cultural, political,
and economic landscape of Central Asia. Turkmen herdsmen frequently
provided transport and security for the caravans traveling from one city to
another with valuable merchandise. Meat, cheese, wool, and leather from the
Turkmen flocks found their way to towns and cities, and prized Turkmen
horses were traded across Central Asia. The Turkmen were also warriors and
occasionally plundered other areas for supplies and trophies.
the nomadic Way of life
Because the livelihood of the Turkmen depended on their livestock—
including sheep, goats, camels, and horses—year-round access to pastures
was essential. Every Turkmen tribe had its own pattern of migration and its
own preferred winter and summer pastures and springs or oases for watering
flocks. This way of life is called pastoral nomadism. It allowed tribal groups
that depended on livestock to move where their flocks could graze as the
seasons changed. To support this way of life, all their possessions had to be
easily portable. Camels were the favored method of transportation because
they could traverse rough terrains, carry heavy loads, and subsist on very
little water.
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195unit 6: chapter 3. the nomads of central asia: turkmen traditions
the dwelling
In addition to livestock, the most important Turkmen family possession was
the housing unit: a fabric-covered domed tent fashioned from slender
wooden poles that were tied together with rope each time it was erected. The
dome of the wooden frame was covered with large, thick slabs of felt that
were secured with fabric bands. The felt allowed for ventilation and
protection from water during rare rainstorms.
The primary furnishing of the tent was a large carpet (known as a main
carpet) that covered most of the floor, though less affluent families may have
used felt floor coverings. Additional carpets served as doors and exterior
decoration. The Turkmen hung storage bags filled with clothing, cooking
utensils, bread, and tent pegs on the walls. The faces of these bags were
woven in warm colors and elaborate patterns incorporating abstracted floral
motifs, called gul (fig. 44), which are particular to each tribe and tribal
subgroup. These textiles served both functional and decorative purposes in
the Turkmen dwelling (fig. 45).
Fig. 44. Comparison of the Arabatchi (detail, image 39) and Salor (detail, 1974.149.46) guls in the Museum’s collection
Fig. 45. A Turkmen family, about 1910–15
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196 Running foot196 Running foot
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197unit 6: chapter 3. the nomads of central asia: turkmen traditions
Weaving
The tradition of Turkmen weaving, dating back centuries, was a universally
female practice and constituted a major part of women’s contribution to
tribal cultural and economic life. Weaving also played an important role in
the socialization process; young women learned their art from their mothers
and older sisters. By the time a girl was considered old enough to marry,
often shortly before she turned twenty, she was already an experienced
weaver. Women created many items for a dowry or as wedding decorations,
such as the tasseled trappings (asmalyk) designed to decorate the camel that
carried a woman from her father’s tent to that of her new husband.
Jewelry making
Unlike the women in the tribe who wove textiles, men made jewelry.
The process required fire, chasing tools made of hardened steel, and an
understanding of techniques for shaping and decorating silver. Although
metalworking was a logistical challenge for those living a nomadic lifestyle,
the Turkmen excelled in this medium.
In Turkmen society, jewelry served several functions. Its precious metal
(silver) and semi-precious stones (carnelian was the favored gem) served as
a tangible and convertible form of wealth, which in hard times could be sold
or pawned to help the tribe or family. Jewelry was also a form of conspicuous
consumption and an indication of status that proclaimed the wealth and
prosperity of its wearer. Equally important in traditional Turkmen society
was the apotropaic, or protective, power ascribed to jewelry—shiny silver,
bright red or blue stones, and tinkling pendants were thought to protect
against the malign influence of evil and envious spirits. Girls wore jewelry
from an early age; it was thought to promote fertility and good health, and
was given as gifts on important occasions, such as religious holidays and
celebrations of rites of passage.
Detail, image 39
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198
Key Words and Ideas
Nomads, Turkmen, daily life, visual identity, portable furnishings, weaving, wool, cotton
unit 6: chapter 3. the nomads of central asia: turkmen traditions
descrIptIon/VIsual analysIs
Woven in woolen pile, the design consists of row upon
row of tiny knots of wool yarn tied to a woolen
foundation. Small quartered medallions, whose design
is unique to each Turkmen tribe, rest on a grid formed
by small octagons with green knotted extensions. The
dyes used to color the wool are all traditional; some
were bought in the marketplace (indigo) and some were
harvested locally (madder). A variety of warm reds and
reddish browns, obtained from madder root, dominate
the color palette.
context
The motifs decorating the field of these storage bag
(chuval) faces are called gul (fig. 44 ), and their design is
unique to the Arabatchi subgroup of Turkmen nomads.
Each Turkmen tribe had their own individual gul that they
used to decorate carpets and bags. This makes it possible
to identify the tribal affiliation of the maker of a storage
bag like this. Textiles were traditionally woven by women
and furnished Turkmen tents; carpets covered floors and
entryways, while smaller rugs were incorporated into
bags of various sizes to hold a range of goods, architectural
decoration, and animal trappings.
39storage bag faces
Early 18th–19th century
Central Asia, probably present-day Turkmenistan,
Arabatchi tribe
Wool (warp, weft, and pile), cotton (weft); asymmetrically
knotted pile; 29½ x 54½ in. (74.9 x 138.4 cm)
The James F. Ballard Collection, Gift of James F. Ballard, 1922
(22.100.40a,b)
lInK to the theme of thIs chapter
Like many Turkmen objects, this textile combines
functionality and portability with striking decoration.
functIon
Storage bags added to the comfort and beauty of the tents
in which the Turkmen lived. The bag was hung from the
interior structure of the tent and served as a portable
wardrobe or cupboard.
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39. Storage bag face
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200
Key Words and Ideas
Nomads, Turkmen, daily life, jewelry, talisman, silver, precious stones
unit 6: chapter 3. the nomads of central asia: turkmen traditions
descrIptIon/VIsual analysIs
The size and weight of this amulet contribute to its
dignified appearance. The body is made of silver, which
was gilded for a multicolored effect. Harmoniously placed
throughout are orange-brown carnelian stones, which
were widely prized for their protective properties. Tiny
bits of turquoise provide blue accents. The solidity of
the upper section is balanced by the hanging pendants
extending below.
context
Though men made Turkmen jewelry, most was worn by
women. Jewelry indicated a woman’s wealth, tribal
affiliation, and social and marital status; one could tell
if a woman was a young girl, newlywed, or long-married
just by looking at her jewelry. Jewelry was often made
of high-quality silver and there are documented cases of
women selling their jewelry for the tribe in times
of dire need.
Late 19th–early 20th century
Present-day Uzbekistan, Karakalpak tribe
Silver, fire gilded with false granulation and twisted wire
and beaded wire decoration, gilded and silver appliqués,
chain-link and cone-shaped pendants with slightly domed
and cabochon-cut carnelians and turquoise beads;
9½ x 10½ in. (24.1 x 26.7 cm)
Gift of Marshall and Marilyn R. Wolf, 2008 (2008.579.12)
lInK to the theme of thIs chapter
This amulet combines symbolic meaning, exquisite
craftsmanship, and precious materials to create a
wearable and portable object of both monetary value
and talismanic power.
functIon
Turkmen jewelry was not only decorative; it also was
thought to have protective properties. This amulet, worn
as a chest pendant, was designed to offer the wearer
protection. The central hollow cylinder, which opens
on either side, would have held a rolled paper scroll
containing blessings, passages from the Qur’an, or
prayers. The gentle sound produced by the many dangling
elements was believed to ward off evil spirits.
The talismanic function of the amulet illustrates the
Turkmen tribes’ blending of pre-Islamic customs and
beliefs with the Muslim faith.
40amulet
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40. Amulet
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202
Lesson Plan: Unit 6, Chapter 3 The Nomads of Central Asia: Turkmen Traditions
UNiT 6: ChAPTer 3. The NomAds of CeNTrAL AsiA: TUrkmeN TrAdiTioNs
Questions for Viewing♦♦ The Turkmen nomads of the eighteenth to early
twentieth century moved throughout the year to ensure their livestock had pastures to graze and water to drink. What might you enjoy about this lifestyle? What, if any, drawbacks might a nomadic lifestyle present?
♦♦ As nomads who moved with herds of sheep throughout the year, the Turkmen had easy access to wool, which they used to make a large range of everyday items, from portable furnishings to animal trappings. What goods or products does your community make out of wool?
♦♦ What natural resources are available where you live? How do they support your daily life?
♦♦ Imagine creating a wool bag like this. What steps might be involved? What skills or qualities might someone need to create such a bag? What special skills are valued in your community?
♦♦ Bags like this were hung inside the Turkmen dwelling, where they were used for storage. Look closely at the photograph of a Turkmen interior (fig. 47). What other goods furnish this home? If you could only keep what you could carry, what items would you choose? Why?
ActiVity subject AreAs: Visual Arts and World History DurAtion: 120 minutes
Small quartered medallions (guls), such as the one on this bag, convey the identity of each Turkmen tribe. Although Turkmen guls are similar, each is unique. Compare and contrast the guls featured on this bag with other Turkmen guls (fig. 46). (You may also refer to the flag of Turkmenistan, which features the five distinct guls of the five main tribes.) What do the designs share in common? What makes each unique?
What shared interests, beliefs, or ties bring people together in your community? What visual cues, if any, convey membership in each group? Design a quartered medallion for a group you belong to (your family, your class at school, a club, etc.). Consider how the colors you select, shapes you choose, and type of line you use will best express key qualities of this group. If you are a member of swim team, for example, instead of focusing
feAtureD work of Artstorage bag face (image 39)Early 19th centuryCentral Asia, probably present-day TurkmenistanWool (warp, weft, and pile), cotton (weft);
asymmetrically knotted pile; 29½ x 54½ in. (74.9 x 138.4 cm)
The James F. Ballard Collection, Gift of James F. Ballard, 1922 (22.100.40a,b)
subject AreAs: Visual Arts and World History grADe: Elementary topic/theme: Art as a Primary Resource
goAls Students will be able to:♦♦ identify ways art of the Turkmen people of
Central Asia reflects nomadic life; and♦♦ understand the functional and symbolic role
objects play in their lives.
nAtionAl leArning stAnDArDsVisual Arts♦♦ NA-VA.K-12.4 Understanding Visual Arts in
Relation to History and Cultures♦♦ NA-VA.K-12.6 Making Connections Between
Visual Arts and Other DisciplinesWorld History♦♦ NSS-WH.5-12.6 Era 6: The Emergence of the First
Global Age, 1450–1770 ♦♦ NSS-WH.5-12.7 Era 7: An Age of Revolutions,
1750–1914
common core stAte stAnDArDsEnglish Language Arts♦♦ SL.CCR.1 Prepare for and participate effectively
in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively
ActiVity setting: Classroom mAteriAls: Graphite, colored pencils, markers, paper for sketching, at least three 5 x 7–inch note cards per student, a hole punch, one skein of yarn, and scissors
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203unit 6: chapter 3. the nomads of central asia: turkmen traditions
ResouRces
Department of Islamic Art. “Turkmen Jewelry.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/turk/hd_turk.htm (August 2011).
Diba, Layla S. Turkmen Jewelry: Silver Ornaments from the Marshall and Marilyn R. Wolf Collection. New York: The Metropolitan Museum of Art, 2011.
Mackie, Louise W., and Jon Thompson. Turkmen, Tribal Carpets and Traditions. Washington, D.C.: Textile Museum, 1980.
objects in the MuseuM’s collection Related to this lesson
Robe, first half of the 19th century or earlier; Turkmenistan; silk and cotton (lining only) with embroidery; L. 47¾ in. (121.3 cm), W. 89½ in. (227.3 cm); Purchase, Hajii Baba Club and The Page and Otto Marx Jr. Foundation Gifts, in memory of Newton Foster, 1999 (1999.141)
Tent door hanging (ensi ), early 19th century; Central Asia, Turkoman/Saryk; wool, cotton; 74 x 54 in. (188 x 137.2 cm); The James F. Ballard Collection, Gift of James F. Ballard, 1922 (22.100.42)
Image 40. Amulet, late 19th–early 20th century; present-day Uzbekistan; silver, fire gilded with false granulation and twisted wire and beaded wire decoration, gilded and silver appliqués, chain-link and cone-shaped pendants with slightly domed and cabochon-cut carnelians and turquoise beads; 9½ x 10½ in. (24.1 x 26.7 cm); Gift of Marshall and Marilyn R. Wolf, 2008 (2008.579.12)
Camel trapping, 19th century; Turkmenistan; wool embroidered with silk; 26¾ x 57½ in. (67.95 x 146.05 cm); Gift of Irma B. Wilkinson, in memory of Charles K. Wilkinson, 1989 (1989.383)
Tent door surround, 19th century; Central Asia, Turkmenistan; wool, goat’s hair; 5215⁄16 x 51 in. (134.5 x 129.5 cm); The James F. Ballard Collection, Gift of James F. Ballard, 1922 (22.100.37)
Fragment of a storage bag, first half of the 19th century; Central Asia, Turkmenistan; wool (warp and weft), cotton (weft and pile), wool (pile), silk (pile); asymmetrically knotted pile; 32½ x 493⁄16 in. (82.5 x 125 cm); The James F. Ballard Collection, Gift of James F. Ballard, 1922 (22.100.43)
Author: Claire Moore, The Metropolitan Museum of ArtDate: 2012
on water or swimsuits, think of ways line might show fluidity, speed, or strength. Sketch four to five possible designs for your medallion and present them, along with a written or verbal description of your decision-making process, to a peer. Create three different versions of the design he or she identified as the strongest, each on a separate 5 x 7–inch note card. (Make the image as large as possible on the card.) Select your favorite medallion and add color with markers or colored pencils. Next, cut out the design and punch a hole at the top. Thread a piece of yarn through the hole and tie the ends together to create a necklace (make sure the loop of yarn is big enough to fit over your head). When everyone is wearing his or her necklace, look closely at the medallions and form groups based on similarities in subject or design. Discuss the features or qualities each “community” has in common and present your findings to the rest of the class.
Fig. 46. Comparison of the Arabatchi (detail, image 39) and Salor (detail, 1974.149.46) guls in the Museum’s collection
Fig. 47. A Turkmen family, about 1910–15
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204 unit 6: chapter 3. the nomads of central asia: turkmen traditions
Major, John S., Joan Barnatt, and John Bertles. Silk Road Encounters Education Kit. Providence, R.I.: Asia Society and The Silk Road Project, Inc., 2001. Online version: http://www.silkroadproject.org/Education/Resources/SilkRoadEncounters/tabid/339/Default.aspx. See especially chapter 3 of the Teacher’s Guide, “Trading in
the Silk Road Cities.”
Thompson, Jon. Oriental Carpets: From the Tents, Cottages and Workshops of Asia. New York: Dutton, 1988. Middle school; high schoolA broad introduction to carpet weaving in the Islamic
world, featuring contextual photographs of nomadic life,
information about how textiles are made, and a full chapter
on nomadic weaving.
Diba, Layla S. Turkmen Jewelry: Silver Ornaments from the Marshall and Marilyn R. Wolf Collection. New York: The Metropolitan Museum of Art, 2011. high schoolA comprehensive introduction to Turkmen jewelry with
detailed color photographs.
Grass: A Nation’s Battle for Survival. DVD. 71 min. Harrington Park, N.J.: Milestone Films, 1992.A classic silent documentary film made in the 1920s that
follows the nomadic Bakhtiari people of Iran on their annual
migration. These are not Turkmen nomads, but the
documentary provides a good general picture of nomadic life.
Mackie, Louise W., and Jon Thompson. Turkmen, Tribal Carpets and Traditions. Washington, D.C.: Textile Museum, 2008. high school
unit 6: chapter 3 suggested readings and resources
unit 6: chapter 3 SourceS
Diba, Layla S. Turkmen Jewelry: Silver Ornaments from the Marshall and Marilyn R. Wolf Collection. New York: The Metropolitan Museum of Art, 2011.
Mackie, Louise W., and Jon Thompson, eds. Turkmen, Tribal Carpets and Traditions. Washington, D.C.: Textile Museum, 1980.
Schletzer, Dieter, and Reinhold Schletzer. Old Silver Jewellery of the Turkoman: An Essay on Symbols in the Culture of Inner Asian Nomads. Berlin: D. Reimer, 1983.
Thompson, Jon. Timbuktu to Tibet: Exotic Rugs & Textiles from New York Collectors. New York: Hajji Baba Club, 2008.
—. Oriental Carpets: From the Tents, Cottages and Workshops of Asia. New York: Dutton, 1988.